Fashion model Angela Reynolds currently acts as Director for contemporary art gallery PERROTIN Tokyo. She started her fashion modeling career at the age of 14 and later relocated to London, England at the age of 20. She has appeared in numerous magazines including Vogue Italia, British Vogue, Jalouse, Dazed & Confused, Numero Tokyo, Harpers Bazaar Japan, and Ryuko Tsushin, as well as runway shows and advertisements for Shiseido, Nike, and Uniqlo, and others.

Following her successful career as a model, Angela ventured into freelance journalism. It was during this period that her encounters with the world of contemporary art left a profound impression, propelling her to challenge herself in yet a new world, despite lacking prior experience in the art industry. We spoke with her about her motivations in pursuing a career in the art world, especially after transitioning from a different industry.

–What made you step into the world of art from modeling?

Angela Reynolds (Angela): It all began when I started feeling uneasy about receiving compliments at every photo shoot, as a model. At the age of thirty, I felt a sense of crisis and felt that my inner self would stagnate unless I had more challenge and discovery in my life. If I was going to continue on my path as a model I knew I needed to explore new avenues of self-expression. I became involved in various Not-for-Profit Organizations, began writing articles, and collaborated with brands in jewelry and fashion design. I particularly loved writing, and decided to venture into freelance journalism. I preferred to write for foreign magazines where I was not recognized for my identity as a model.

As I interviewed creators in various fields such as architects and designers, I often found them discussing fine art. Despite my extensive research prior to conducting these interviews, time and again I felt my knowledge of art and artists was insufficient to dig deeper during the precious time I had with my subjects. I immersed myself in study so I could better understand the individuals I was interested in. The more I frequented galleries and museums, the more captivated I became. Even if I initially didn’t feel a strong connection to a particular artist or style, I often discovered a profound connection once I saw the artworks in person and gained some knowledge about the artist. Within this process of discovery, I felt the tremendous potential and energy of art, leading me to yearn to be involved in this industry.

–How did you learn about art?

Angela: I actually had no prior background in art. However, my English ability gave me the opportunity to speak to visiting artists and art professionals at gallery openings, especially at  SCAI THE BATHHOUSE gallery which I regularly visited. I attended many of their openings and sometimes did some translating for them. One day at the gallery, I was struck by a work by Apichatpong Weerasethakul, and, completely captivated by its magic, I found myself asking the gallerist for an opportunity to be more involved in the gallery. After some persistence on my part, Mr. Shiraishi, the gallery owner, kindly agreed to give me a trial period. Without any formal training nor prior experience working for any company, I started out by taking on miscellaneous tasks. Gradually, learning on the job, I built up my skills through lots of trial and error. I failed again and again, but I knew I had to pull through. Those were days of intense training.

Challenging a new world in her 30s

–As you get older, don’t you feel uneasy about taking on new challenges?

Angela: On the contrary, I aim to remain active well into my seventies, so I don’t have any hesitation about pursuing new ventures. In fact, I am the type of person who thrives on taking on new challenges. Before I entered the art industry, I visited UNHCR refugee camps, traveled to Rwanda as an ambassador for Table for Two – an initiative that provides school lunches to children in developing countries — and journeyed to Bangladesh for a project with the fair-trade clothing brand People Tree. I’ve learned that if you don’t challenge yourself, you cannot fail; if you don’t fail, you don’t experience the deep joy and learning that comes from growth. Learning fosters gratitude, humility, and an understanding of the struggles faced by others. What I find through constant self-reflection and challenge is to me more meaningful than the stability of a familiar environment. This is what propelled me to dive into the art industry.

–Along with being Director, you act as an artist liaison at PERROTIN. Could you tell us about this work?

Angela: An artist liaison’s role is similar to that of an artist manager. We take a long-term approach to view and manage artists’ careers, creating presentation materials to introduce them to museums, clients, and institutions, determine prices on artworks, facilitate connections with various individuals, assist with production research, attend exhibition openings, and so on. We try to provide comprehensive support in any way necessary to each individual artist. At the moment, I am responsible for three artists at Perrotin —  Eddie Martinez, Barry McGee, and Mark Ryden.

–What criteria is applied when selecting the artists you work with?

Angela: The selection process involves extensive discussions among PERROTIN’s global directors. We approach the decision-making process with a long-term commitment in mind, as the relationship with an artist is intimate and formative for both sides. Therefore, we invest significant time and consideration in assessing various factors before finalizing our selection.　

–What is important to you in building a relationship with an artist?

Angela: One primary aspect I prioiritise is understanding the boundaries of an artist’s creative territory. It’s crucial to determine early on which areas I am allowed to navigate and which areas I should avoid. Drawing from my experience in modeling and having support from a manager, I’ve learned how to be attentive to the sensitivities and preferences of individuals. Artists often possess a heightened sensitivity and a rich and unique worldview, and it is important to respect their natural way of being and honor their personal space in order to foster a strong trust relationship.

–It shows how sincere you are working with artists.

Angela: Thank you for your kind words. When it comes to working with an artist, I truly believe in treating them with utmost love and respect. Every artist I’ve had the privilege of working with pours their heart and soul into their work, and it’s only fair that I reciprocate that dedication. This mindset extends into my daily life, especially in interactions with people and situations that seem unfamiliar or complex to me. This is something I strongly felt during my battle with terminal cancer in the past. While I was recuperating in London, the effects of anticancer drugs caused my hair and nails to fall out. However, with the help of a wig, I could conceal my illness from others. This experience reminded me that even the person assisting us at the supermarket or our neighbor may be silently struggling with their own health issues. It’s a powerful reminder that many people around us are enduring immense hardships, even if we are unaware of their battles. Since I realized this, I make a conscious effort to approach others with empathy, remembering that everyone carries their own pain, experiences, and something they deeply cherish in their life. We are all fighting and striving to survive.

–In your personal life, you are a wife and mother; how do you maintain a work-life balance?

Angela: Navigating life’s transitions and deciding how to move on to the next chapter is a deeply personal journey. When one starts family life, one’s relationship with work significantly changes. While I hold immense value and passion for my work, I’ve learned the importance of setting clear boundaries that allow for dedicated time for myself and my family. At first, I grappled with finding this balance, but eventually I discovered that equivalent (sometimes better) results can be achieved even under restricted conditions. Until then, I had believed that relentlessly dedicating my waking hours to working and studying was the only way I could fulfill my responsibilities – especially given that I had been granted the opportunity to work in a remarkable gallery with exceptional colleagues despite my lack of experience.

–I got the impression that you are a person of such a strict self-discipline.

Angela: Oh, really (laughs)? I actually think I have quite a laid-back personality, but perhaps I’ve developed a knack for pushing through adversity. In life, we all experience moments of feeling inferior, thinking we’re not good enough or comparing oneself to others. But that self-image is merely a selfish illusion, based not on actual results but judgements derived from unchangeable past experiences. It’s important to drop that critical image and simply act constructively towards the next step. Creating a favorable environment can completely reshape our experience and the value of our contributions.

— Finally, what do you think is the power of art in times of turmoil, when we have pandemics, wars, and earthquakes?

Angela: Art plays a vital role during uncertain times. Even in times of peace, people feel pain and emptiness, search for meaning, and experience conflict. Art in its various forms can rescue us from such suffering, either for a brief moment’s solace, or sometimes definitively shifting one’s perspective. For instance, sitting in front of your favorite painting, the tears flowing down your face can save you. The same can be said about music, movies, theater, and other artistic expressions. Connecting with the oasis of the heart through artwork revitalises our energy, offering respite from the challenges we face and giving us the courage to go back and confront them.

Photography Anna Miyoshi（TRON）
Hair & Make-up Mikako Kikuchi（TRON）

Jacket ¥29,000, Pants ¥19,000 / supplied by styling/ (styling/ Lumine Shinjuku 1/ 03-6302-0213), other items worn by Angela are her own

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The exhibition “Lockdown Self-portraits” by Claire Tabouret opens at Perrotin Tokyo until December 26st. While the worldwide lockdown causes loneliness for everyone in a suffocating modern society, she looks inside herself and presents a series of monoprints, one of the new self-portrait paintings and printmaking techniques that portray her own personality.

Her several works show the element of clothes and makeup function as “armor” that hides a part of the body. The motifs repeatedly appear in this new work, such as thick bathrobes, hooded sweatshirts, and pet dog George, bring homely warmth and relief, on the other hand, they serve as shelters. It also expresses the Tabouret’s urge to disappear.

What did Claire Tabouret see when she faced herself again in response to the uncertainty in the COVID-19 era?

――This is your first solo exhibition in Japan although you were unable to come to Japan due to the corona crisis. What are your feelings for Japan?

I love Japan and I wish I could be there for the exhibition. I’m disappointed to not be able to visit right now, but I’m looking forward to next time!

――How did you feel when you had to face yourself during the uncertainty of the world situation?

At first I felt that I would have much more time to paint due to the new, seemingly slower nature of daily life. But actually, it has been the contrary, because my mind is so occupied by processing the news and uncertainty of the world. We are all going through a challenging time and dealing with a lot of uneasiness, but painting helps me to process these experiences and to find a meaning in every day life.

――You have made a number of works focusing on the relationships between people, both imaginary and real friends. How did you come to focus on relationships with people in the first place?

When I was painting landscapes, they were really about memory, and about the events that happened at that place. Even when there was no figure in the painting, I could feel the presence of the people who had been there. I had this similar feeling when painting boats with groups of people on them, so I started to zoom in on the faces and eyes of the distant figures. Once these figures were closer, I became interested in the confrontation between the figure and the viewer, and the relationships between the figures themselves.

――The motivation for this exhibition “Lockdown Self-portraits” came from the situation that an “individual” had to face during the lockdown.  What were your reasons that you started drawing yourself?

Self-portraiture has always been a part of my practice, but the sudden isolation caused by the lockdown compelled me to start painting myself out of necessity. It was in this very natural way that I began painting myself, because the urgency to paint is always there, no matter what. The idea of painting other people didn’t feel right, so I just did with what I had in these times, which is myself.

――I felt a moment of tranquility and relaxation in your painting on canvas where you were dressed casually or just wearing a gown over your naked body at home. On the other hand, I could sense the tension from the background color and the running ink. How did your emotions change as the surrounding situation changed so rapidly?

I have always felt that painting is a very dynamic process- it’s constantly changing. This feels especially true when painting people, because humans are almost entirely made of water and the surface of their face moves and changes like water as well. In this way painting allows me to capture and react to changes, whether they are emotional or physical. You can see these subtle changes in the paintings as well as the monoprints, as they’re all depictions of me, but not quite identical.

――At the press preview, you talked about the use of fluorescent colors, saying that “they are artificially created colors that are not found in nature or the human body, so they create an atmosphere that is linked to dreams and imaginary worlds.”  Could you please elaborate?  Is this because of how you felt in your real life as you had more time to imagine things during the lockdown?

To quote Agnes Martin, “There are two endless directions. In and out.” I feel that my work finds its inspiration in the outside world, my real life, etc. but painting allows me to reflect on these situations through a different lens, in a totally mental world. That’s why these colors are in a way artificial- they’re happening in an otherworldly place.

――Do you ever consciously think about something in your portraits?

Every portrait starts with an intuition of colors & composition in order to evoke a certain feeling or situation. It’s an internal urge that guides each painting, not necessarily something I consciously decide to paint.

――Your portraits of Yoko Ono and Villa Medici in Rome in 2017, and the women in the make-up series of women’s portraits in the Yuz Museum in Shanghai look serene at a first glance, but I see darkness hidden in many places that makes me feel unease but in a good way. What is your stance on creating portraits?

The make-up portraits are about embracing stains or imperfections- wearing them proudly and fiercely like war paint. They’re the opposite of actual makeup, which is often used to make a face look perfect. The make-up in these portraits is slippery and artificially placed. They can evoke madness or weirdness, and can even be disturbing, but they’re still strong.

――You’ve expressed the importance of community and connection in the past, but what are your thoughts on communication given the situation caused by the pandemic?

My works often deal with proximity, with the relationships between people, and how people occupy space within a group. During the pandemic, there are no gatherings and there’s very little closeness to other people. That has definitely put a strain on communication in many ways, as it’s very human to want to be near each other. The lack of connection to others played a big role in my compulsion to paint self-portraits.

――What kind of works do you want to create in the post-Corona?

I want to create works about proximity, physical closeness, gatherings, people getting together for dance parties, jumping around in a room with 80 people. I’m looking forward to making work about all the things we have been missing out on over the last several months.

Claire Tabouret
Born in France in 1981, based in Los Angels currently. Her works are collected by Los Angeles County Museum of Art, François-Henri Pinault, CEO of the Kering Group, and Agnes Troublé, the founder and designer. She also had the exhibitions with Yoko Ono at Villa Medici in Rome and Yuz Museum in Shanghai in 2017.

■LOCKDOWN SELF-PORTRAITS
Open：until December 26st, 2020
Location：Perrotin Tokyo
Address：6-6-9 Roppongi, Minato City, tokyo
Hours：12:00 -18:00（by appointment only）
Closed：Sunday and Monday
Admission：free
Website：www.perrotin.com

Translation elie Inoue

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For the first volume of this series, we interviewed Etsuko Nakajima, partner of Asia-Pacific’s French mega-gallery “PERROTIN.” In this article, we will explore the influence of corona on the art market, and how PERROTIN has been single-handedly creating new possibilities for the art market by expanding the boundaries of art and entertainment.

――Please tell us about your vision of what galleries should be and what direction they should take during the pandemic.

Etsuko Nakajima: I get the impression that we are now hitting the restart button since the world understands that in this current situation, it is impossible to carry on with money games and old-fashioned mentalities aimed only at mega-galleries. Such problems, including the necessity of art fairs in the current state, should also be discussed more often.

――I hear that due to the increasing number of art fairs around the world, the interest in the fairs itself is diminishing.

Etsuko: Everyone was tired of them. Art fairs are also businesses, so the excitement surrounding them depends on how they’re presented. I feel that old-fashioned art fairs and gallery exhibitions don’t work anymore; they’re broken.

――Is there any change regardless of the nature of galleries?

Etsuko: The other day, I went to the United States, and I felt like everyone’s mind was in a state of disarray, almost like everyone has a latent, unconscious wish for this situation to snap at least once. I think that the absolutistic American model of capitalism will be questioned regardless of the outcome of the upcoming presidential election.

There are always movements that come from such developments. At the same time, Asia is steadily expanding its market. With the emergence of formerly hidden geeky artists and collectors, Asia will need galleries to assert itself.

――Specifically, which markets are you paying attention to now?

Etsuko: Right now, I’m based in South Korea since, for artists, it’s a gateway to success. There are many writers producing edgy art and collectors with a good eye. Chinese people are pretty strong in the market, especially Millennials artists; their sense of self-assertion is amazing. Of course, they do adopt Western values, but they are strongly reluctant and opposed to what they don’t agree with. The children raised with great care under the one-child policy ended up forming their own ethics and values towards art, and as a result, a unique and Asian aesthetic was created, different from the Western value standards that had been leading the way until now.

――Would you say that physical policies gave birth to something original?

Etsuko: I would say so. Another example would be the second and third generations of Asians overseas. For instance, Asian stand-up comedian Ronny Chieng, who’s on Netflix, satirizes American traditional policies from the inside, or Indonesian rapper Rich Brian, and MADSAKI: they’re establishing their Asian identity within the borders of Western culture. You could call it a social phenomenon, but I think of this as the center of the next generational movement.

――The old hierarchy doesn’t exist for Millennials.

Etsuko: I think so. However, Mr. Takashi Murakami, for example, has a great deal of support from the younger generation as an artist who pioneered new artistic expressions. It’s not about what people like or dislike about his works or his way of life; it’s their aspiration towards a leading figure in new methods of expression.

I am also thankful to him for posting on Instagram about his movie “Jellyfish Eyes Part 2: Mahashankh” facing bankruptcy during the pandemic. Of course, doing something like this will get you scolded by investors, but understanding that he’s in a difficult situation has softened my heart. I myself was working under intense pressure, so it made me feel better.

――What do we need to enjoy art more openly in this generation?

Etsuko: We have more time on our hands compared to before, so I want everyone to dig deeper into why you like art. In Japanese traditional art, pottery may become a big movement soon. Mr. Murakami also collects pottery as a hobby, and he’s even slowly showcasing some of it at PERROTIN. In Seoul, PERROTIN also held an exhibition by the name of “Healing,” which I think was able to heal everyone. In that regard, I recommend it as an entry. The price is not too high, so I would love for everyone to see it.

――Rather than desperately looking outward, there is a growing movement of self-localization, of looking inward.

Etsuko: It was the same when I opened PERROTIN Hong Kong ten years ago; you can’t lump together all of Asia. That’s why I opened branches in Shanghai, Tokyo, and South Korea. Actually, it’s more efficient to invite artists from abroad, but that way the local market doesn’t grow. Unless you clearly communicate the significance of running galleries locally, the community won’t accept it. As a business, its education is important, so I think it will take time.

――Which young artists are you paying attention to?

Etsuko: I’m looking forward to my daughter’s generation, to what teenage artists are going to do from now. This year, the inclination to endorse female artists was particularly remarkable. Everyone is being drawn to women’s work, like Chiho Aoshima in Hong Kong, Aya Takano in South Korea and Claire Tabouret. There’s a lot of anticipation towards Emi Kuraya’s exhibition in Soul next January.

――So far, art and street culture, fashion and club music are mixing, creating a new type of contemporary art that I feel has maturated to a degree. What do you think will happen to this movement in the future?

Etsuko: Emmanuel (Perrotin) has always wanted to create a highly entertaining gallery that mixes not only art but also music and fashion. He wants to reach “democratization,” which is the next level, where everyone will be able to enjoy art, regardless of their economic situation. Entertainment is also just one of the ways we can approach art. When “FIAC” was canceled this year and the whole art industry fell into depression, Emmanuel came up with the idea of renting out the Grand Palais and held “WANTED!” last month, an art treasure hunt event. It was a game that consisted of finding artwork hidden in the Grand Palais, which you could take home as it was; anyone could participate as a general applicant. Mr. Murakami, Bernard Frize and everyone else also participated.

――I heard it was a big-hearted project: depending on their luck, the visitors could bring home artworks from 20 different artists.

Etsuko: We have to spread art and bring happiness to each other exactly because of these uncertain times. Our idea is very simple: from now on, we would like to propagate Asian contemporary art as much as possible, all the while thinking about what PERROTIN should become next, how it should evolve.

――What do you actually mean by evolution?

Etsuko: We want to gradually increase the number of branches and nurture the next generation of artists. Young artists can develop themselves in places like South Korea and Shanghai, which act as gateways to success, and then connect them to Paris and New York; we can do that. That’s why Asia is hot right now.

――Do you think that Japan’s art market has any potential for the future?

Etsuko: The good news these days is that the Pola Museum of Art won the bid at Sotheby’s auction for a (Gerhard) Richter’s for three billion yen. Until now, the Japanese market has been considered less influential than the Chinese or the Korean one, but it’s making a comeback. I believe there is potential, both for the market and for young Japanese collectors.

Etsuko Nakajima
Born in Paris, Etsuko is the Asia-Pacific partner of Galerie PERROTIN. After studying art history at Sorbonne University, she worked at the Fondation Cartier pour l’Art Contemporain, and in 2002, she started working at Galerie Perrotin in Paris. She subsequently established galleries in Hong Kong, Seoul, Tokyo and Shanghai. She collaborates with artists such as Takashi Murakami, Mr., MADSAKI, Aya Takano, and Otani Workshop. In addition to PERROTIN, she has been involved in numerous exhibitions at museums around the world, such as the Mori Art Museum, Château de Versailles, Qatar Museums Authority, Garage Museum of Contemporary Art in Moscow, and Tai Kwun in Hong Kong.

Translation Leandro Di Rosa

The post Art Series Volume 1 – Interview with Galerie Perrotin’s Etsuko Nakajima: “the advancement of Asia’s artistic democratization and the formation of its ethics and values” appeared first on TOKION - Cutting edge culture and fashion information.

Since the launch of Le Kiosque des Noctambules at the entrance to the Palay Royale-Muse du Louvre train station in Paris in 2000, Othoniel has been recognized as one of France’s leading artists. The three-month retrospective exhibition held at the Pompidou Center in 2011 attracted a record 200,000 visitors. In Japan, he has displayed sculptures such as Kin no Kokoro in Roppongi Hills Mori Garden, and others in the open-air area on the third floor of the Chanel Ginza store. A recent collaboration with the fragrance brand Diptic is a hot topic.

Othoniel continues to quietly explore nature, and his new installation, Kiku, is inspired by the symbolism of chrysanthemum in classical Japanese culture. The exhibition expresses the closed off forbidden chrysanthemums garden named “Yumeji (Dream Road).” The term Yumeji appears in the collections of Japanese poetry, “Kokinshu” and “Gosenshu,” which were compiled in the 900’s, and implies “dreaming” and “dreaming with loved ones.”

This solo exhibition is his first gallery exhibition in Japan, and the new series of sculptures represent chrysanthemum crystallized with glass and beads, which have been used in art since the late 1990s. Paintings on large canvases depict abstract images with black ink on a layer of platinum foil, playing with the sense of light and dark. This shows his love for drawing, which has been at the core of his work since the start of his career as an artist. The elegant sculptures set on pedestal in the mains space hark back to the overwhelming exhibits at the Bunkyo Chrysanthemum Festival, which Othoniel visited many times. There are three paintings painted on gold leaf on display in an adjoining room.  

Jean-Michel Othoniel’s “DREAM ROAD”
Date: September 16 to October 24
Time: 11:00 to 19:00（Appointment required）
Venue: PERROTIN Tokyo
Address: Piramide building, 1st floor, 6-6-9 Roppongi, Minato-ku, Tokyo
Holidays: Sundays, Mondays, and public holidays

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